"I think poets in particular play a really important role in drawing attention to the way these technologies are evolving...Mez Breeze is maybe the most recognizable Glitch Poetics artist that I mention, in that her way of writing is a composite of code language (so algorithms or a written piece of code) and a poem....They are really striking...they open up this kind of multiple possibilities and multiple punnings that are there within a word. They kind of stop you from reading them, and in place of that...you're noticing all the little inferences that are actually available within each word...It is a post-human writing."

- Nathan Jones talking about his "Glitch Poetics" December 2015 article in "Art Monthly" at Resonance FM.

Captivated by Mez Breeze's poetry, activism & intervention. Check out #Prisom anti-surveillance game http://t.co/jN2IBmvOAM @MezBreezeDesign

— Saito (@SaitoGroup) July 10, 2015

@MezBreezeDesign on Transmedia and Gaming Narratives in WQ by @qldwriters This link = my answer to Q on both 4evr http://t.co/psBA75GXEU

— SelenaHanet-Hutchins (@texturetide) June 12, 2015

"Mez Breeze embraces the medium of digital writing, producing highly original work with striking visual force. We were impressed by the diversity of her creative practice and her willingness to present daring writing in an accessible way. We think that writers like Mez are redefining contemporary poetry." - Judges for the 2015 Thiel Grant Award for Online Writing.

"You probably know the fabulous Mez for her signature codework language mezangelle or for her fabulous collaborations with Andy Campbell, but Mez was also one of my chief mentors in netprov. Back when Workstudy Seth was running my social media, Mez gave me advice from afar, guiding me away from some real "danger zones," as Archer would call them. Truly with her online personas, she's been performing one of the longest-running netprovs around. In our special issue of Hyperrhiz, Mez presents two #netprovs: #OutsideurDoor and _feralC. Read about them and sample some transcripts here." - Mark Marino, Hyperrhiz.

[On"Human Readable Messages"] "[A] classic...A sea of linguistic invention: unsurpassed technical innovation in terms of print language. Reading the various passages for the first time I felt I was privy to a new form of expression not merely a creole or amalgam, something really new. Mez is brilliant." - Michael J. Maguire

"Code Poetry often refers to work such as Mez Breeze’s. Her Mezangelle complicates the line between human and machine communication in a way informed more from a literary tradition than code art’s contemporary art perspective. The broken, code-like assemblages of words layer meanings, but unlike in code art, it’s not important for the resulting piece to function as executable code. Code poetry is a creole between machine and human communication." - Daniel Temkin, "Esoteric.codes"

"This notion of source code as readable - as creating some outcome regardless of its machinic execution - underlies "codework" and other creative projects. The Internet artist Mez, for instance, has created a language called mezangelle that incorporates formal code and informal speech. Mez's poetry deliberately plays with programming syntax, producing language that cannot be executed, but nonetheless draws on the conventions of programming language to signify." - Wendy Chun, "Programmed Visions: Software and Memory".

"For many immigrants, creole is a way to carve out their own language from within a dominant one. With her “mezangelle”, Mez creates a minor language using dominant languages of humans and machine - a kind of creole that disrupts the prescribed utility of both word and code, opening them up to new meaning and play..." [From Illya Szilak's #ELO2014 Keynote Address]

I've never encountered any1 w the unique joy&delight in [s]language[s] as @netwurker @MezBreezeDesign #liquidpage #wordstorm14 #elit
— Mark C. Marino (@markcmarino) May 30, 2014

"The history of the culture of AI is one of rigorous great failure. AI is a form of literature, the tragedic drama of the hacker class. Mez is indeed relevant here as the mirror image of AI, "Turings Man" ironized..."

- Rob Myers, RHIZOME_DISCUSS.

"For those that don’t know, Mez is a legend in digital arts. She is internationally known for her digital works, including inventing her own language... Both Mez and Jason Nelson are two giants in electronic literature that we have here in Australia. It is a pleasure to know, and be encouraged, by both of them."

- Christy Dena, Universe Creation 101.

"Mezangelle seems to really take something *from* the code and bring it into speech, to recognize some element in a nevertheless masculinist programming language as feminist, as worth freeing from its context and allowing it to work in some other way..."

- Ebuswell, Critical Code Studies Working Group 2014.

"Claes Oldenburg has a sculpture in the form of a giant safety pin. It isn't a safety pin; it can't be operated like one. It's there to look at and to be part of the space around the viewer. The fact that it doesn't work is part of the design, not a defect. Mary Flanagan has a sculpture that is a giant joystick, and is a functioning joystick that allows people (ideally, more than one) to play Atari VCS games. It's supposed to work, by design; that's an essential part of the concept. So, it makes sense to me to imagine how Mez's codework or Oldenburg's safety pin would operate if they did work, but to me it is less reasonable and productive to actually try to engineer a working safety pin out of the existing sculpture or a working compiler for existing codework texts."

-Nick Montfort, Critical Code Studies Working Group 2014.

"Mez (aka Mary-Anne Breeze) ties experimental language to avatar creation and collaborative networking to explore complex and often contested political and social themes. The originality of her approach with its rich integration of the various aspects of her praxis has repercussions beyond aesthetics:

When Breeze transformed herself into Ms. Post Modernism, she felt obligated to represent that with a description of a physical act of self-mutilation: cutting out one's face so that it can be removed and replaced. Today, when Breeze posts to listservs, she posts under avatars that only exist for a few weeks or a few days, often reflecting a political or social issue on her mind, before she finally discards that avatar for a new one. The process of transforming her identity seems mundane and easy, just as it seems to anyone else who participates in these online environments long enough. (Reep)

Mez's precursors in print fiction include Kathy Acker, Among other works, Kathy Acker's Empire of the senseless. whose surreal and terrible prose seems to have been semantically dismantled by Mez's more technologically engaged praxis. Both stretch language and genre until only thin tendrils of reference to mainstream literature remain. These thin tendrils are even more nebulous in Mez's case, since she distributes her work, and indeed, shares "ownership" of her work, in ways that exist beyond the scope of the capitalist print fiction industry."

- "Language rules" by Geniwate, Electronic Book Review

'Can you remember the first work of electronic literature you ever read?

“It was [the work of] mez breeze, because I was really into mailing lists and I was really just amazed by her writing.”

- Renee Turner, artist and course director at the Piet Zwart Institute, Rotterdam

"...Then, a new BOOK was born - the ‘information superhighway’. It was revolutionary, but familiar; made of ‘pages’ and ‘folds’, ‘lines’ and ‘text’, it brought new multimedia forms of communicating, playing and storytelling. New Media Artists, such as Sean Cubitt, Michael Joyce and Mez Breeze experimented with temporality and structure, with interactivity and interface, and honoured the reader’s role in making story...Artists, gamers and codeworkers recognised that ‘highway’ was a poor analogy for the internet, because it was not a logistics link between two points, but a complex human-dimensional map of connections."

- From "Editing Outside the Box" by Selena Hanet-Hutchins. Presented at "Editing Across Borders": the 6th IPEd National Editors Conference 2013, April 10th - 12th in Perth, Western Australia.

"How can we use these dynamic measures, these hidden dimensions, for poetic works? By using large networks as our instruments, as arguably Net Artists Mez (Mary-Anne Breeze) and Netochka Nezvanova both do, creating and exploring multiply connected regions in which different regions of space and time are spliced together, but more than spliced; in which histories are alterable, always different, manifesting in many media, driven to immaterial spaces by the assaults of technology, escaping both identity and identification, in search of some new present they are leaning into?" 

- Eduardo Kac's Media Poetry: An International Anthology.

"...textually based works can also be considered media art - Mez Breeze's body of work in her language Mezangelle is an excellent example."
- Melissa Wieser

"Based heavily in a Derridean universe of words within words, Mez Breeze's poetics works in an almost antithetical manner. Whereas Derrida and James Joyce operate fundamentally on a linguistics of implosion (or compression; portmanteaus and puns), Breeze operates by explosion. It is easy to dismiss her work as a pastiche on “l33t sp33k” but there is far more happening here than such a superficial read would avail a careful critic. By breaking words down into their principle parts, Mez operates on a principle of addition as opposed to subtraction...So instead of a linear read, you have a poetics which trains the reader to confront it with a sense of simultaneity. That is to say, these poems are often easier to read if you process them holistically (in this sense, to take them as a whole) rather than moving from a beginning to an end as you would with a typical English sentence...

Other various strategies she employs is the extensive use of code operators such as + and &. Brackets, braces, and parenthesis provide further elaboration. In essence, where Derrida and Joyce employed reduction, Mez employs expansion, and the effect (in my opinion) is not only brilliant, but exclusive to Mezangelle."

-Rollie Bollocks in "Mezangelle: A Reading Strategy".